Name: Carina Silvia Madsius aka Zylva
Occupation: Singer, songwriter, producer, poet
Nationality: German
Current release: Zylva's Poems from the Dark is out via Squama.
Recommendations: The painting „Mooring“ by Joan Mitchell. The song „Hejira“ by Joni Mitchell.

If you enjoyed this Zylva interview and would like to stay up to date with her music, visit her on Instagram.



When I listen to music, I see shapes, objects and colours. What happens in your body when you're listening? Do you listen with your eyes open or closed?

Listening to music opens up a space where various things emerge.

I, too, associate sounds with colors. It's a physical experience for me, and depending on the music, my body resonates in different ways. I might feel lighter or heavier, experience goosebumps, or cry or laugh. Any feeling or sensation is possible.

I listen to music in all situations, whether my eyes are open or closed. ometimes, when I attend live concerts, I like to close my eyes to minimize visual stimuli and focus solely on the music.

What were your very first steps in music like - and how do you rate gains made through experience versus the naiveté of those first steps?

My first steps in music were dancing to my uncle's music. He is a musician too, and I started playing the piano at the age of three. I remember it being very playful, and that element still exists in my music today, especially when I'm playing and writing my own songs.

I believe both aspects have their own qualities. Finding a balance between the two is beautiful, in my opinion.

According to scientific studies, we make our deepest and most incisive musical experiences between the ages of 13-16. What did music meant to you at that age and what’s changed since then?

During that time, I downloaded thousands of songs and immersed myself in the music I enjoyed. Music was my primary interest then, and it still is now. I would listen to music on my way to school using my walkman and discman, and I would listen at home and basically everywhere I went, for hours each day.

I also had my first bands during that period, where I wrote my first songs. I had a cover band for fun, where I played the bass, and I recall that we covered songs like "Blue Orchid" by The White Stripes, "Bombtrack" by Rage Against The Machine, "Blitzkrieg Bop" by The Ramones, and "Come As You Are" by Nirvana, of course.



To be honest, not much has changed since then, except for the shift from downloading to streaming and buying vinyl.

Over the course of your development, what have been your most important instruments and tools and how have they shaped your perspective on music?

The piano, Ableton Live, and the bass guitar have been the most important instruments and tools for me.

The piano serves as the starting point for my songs, and spending time with it over the years has taught me to deeply listen to each note and be conscious of how everything I bring to the instrument resonates in sound and output.

What, would you say, are the key ideas behind your approach to music and what motivates you to create?

Playfulness, creation, community, connection, self-expression, and inspiration are the key ideas behind my approach to music I think.

I have a natural drive to create, so I can't pinpoint exactly why I create, but every time I create something, I feel a little more fulfilled afterward.

I aspire to inspire people, make them feel understood and seen, and let them know they are not alone in how they feel.

Paul Simon said “the way that I listen to my own records is not for the chords or the lyrics - my first impression is of the overall sound.” What's your own take on that and how would you define your personal sound?

"The way I listen to my records depends on the moment I'm in, and I might perceive a song differently today than yesterday."

I would define my personal sound as genuine, direct, emotionally raw, and colorful.

Sound, song, and rhythm are all around us, from animal noises to the waves of the ocean. What, if any, are some of the most moving experiences you've had with these non-human-made sounds? In how far would you describe them as “musical”?

I love bird songs, and over the years, I've come quite close to whistling like a sparrow.

One day, while one was singing in a tree, I heard it responding to my call. At least it felt like it was answering. That was a very moving experience.

Music is everywhere, and I love being inspired by the sounds that surround me.

From very deep/high/loud/quiet sounds to very long/short/simple/complex compositions - are there extremes in music you feel drawn to and what response do they elicit?

I'm drawn to "harsh" and noisy sounds in contemporary electronic music, such as the works of Arca or Sophie.

I find them compelling, especially when combined with tenderness, emotional richness, and vulnerability that these artists bring to their music and lyrics. It's the tension between these elements that captivates me.

From symphonies and traditional verse/chorus-songs to linear techno tracks and free jazz, there are myriads ways to structure a piece of music. Which approaches work best for you – and why?

I think I come from a background of traditional verse-chorus songs, but like breaking out of that form. My album, Poems From The Dark reflects this, as some songs consist of only one part without the division into chorus and verse. I like the idea of these musical pieces resembling poems.

Additionally, my classical background has influenced my work in terms of arrangement, as I appreciate well-balanced soundscapes that are coherent and self-sufficient systems, at least in my perception.

Could you describe your creative process on the basis of one of your pieces, live performances or albums that's particularly dear to you, please?

I found myself in a difficult situation within my relationship. We would meet and then part ways, leaving me torn and sad. When I returned home, still carrying my backpack on my shoulders and tears in my eyes, I would go to my piano and begin playing. More tears would flow, and the music would open the floodgates of emotions.

A piano riff would form under my fingers, and I would enter a flow where rhythm and melody emerged. Fragments of lyrics would appear, and I would find a topline that resonated with me, repeating it over and over again.

Days later, I would listen back to the recording I made of the initial idea with my iPhone. I liked it and started working on the lyrics for the second verse, as the rest was already there. Over the following weeks and months, I would refine the lyrics until every word felt right to me. Sometimes, it was just a single word that I changed. I particularly love it when lyrics have a rhythm of their own, resembling poems.

Finally, I would sit down at my laptop and explore which sounds inspired me. I would experiment with my Prophet '08 synthesizer, finding a sound that resonated with me, and recording it for later use. Then, I would let it rest and return to it at a later time.

This was the creative process for my song "Falling Apart," and it serves as a good example of how I work.



Sometimes, science and art converge in unexpected ways. Do you conduct “experiments” or make use of scientific insights when you're making music?

I certainly conduct experiments, but I don't explicitly draw on scientific insights for making music, at least not consciously.

I believe that much of what we absorb finds its way into our creations, even on a subconscious level.

How does the way you make music reflect the way you live your life? Can we learn lessons about life by understanding music on a deeper level?

I need some free space to make music, and that reflects how I live or want to live my life. I have an urge to be as self-determined as possible.

I think the music we create can serve as a mirror; when we are authentic and honest, we gain great insight into our inner worlds. Creating some distance between ourselves and our feelings and experiences allows us to see them from different angles and perspectives, enabling us to reflect on them in a unique way.

I believe that making music, and perhaps art in general, offers us this opportunity.

Do you feel as though writing or performing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

I believe that both writing or performing a piece of music and making a great cup of coffee can be approached with the same dedication and intention. However, the creative process of making music often lacks a plan or structure. We can give ourselves a form, just like a cup can represent a song structure like ABAB, and the coffee represents the music itself.

Ultimately, it's a philosophical question that can be viewed from various angles. Personally, I've never been moved by a cup of coffee in the same way as a piece of music, but everyone's experience is unique I guess.

Every time I listen to "Albedo 0.39" by Vangelis, I choke up. But the lyrics are made up of nothing but numbers and values. Do you, too, have a song or piece of music that affects you in a way that you can't explain?

I find the song "Pink Moon" by Nick Drake immensely beautiful, and I struggle to explain why. There's something between the lines that is so tender and fragile, even though the means used are basic with just a guitar and vocals.



It feels like a whole world opening up, and every time I hear it, I feel like I'm transported to a different universe.

If you could make a wish for the future – what are developments in music you would like to see and hear?

A way more diverse representation of music and musicians in the media and justice for artists in terms of profits for streaming and so on.